Author: Marc Cattrall

Can I use Fujinon MK lenses on the RED Komodo?

/ Marc Cattrall

Due to the small size and weight of the MK zoom lenses – 206mm / 8.1in and 0.98kg / 2lb 1.6oz – they seem to be a perfect match for the RED Komodo, weighing in at roughly the same weight in a rough cube no bigger than 100mm / 4inches on any size.

Mount

[We need to discuss this bit still – how do users get hold of an RF Mount version of an MK lens?]

Due to fact that all MK lenses leave the factory installed with a Sony E Mount as standard, you will need to either convert* your MK lens to an RF Mount, or purchase one with the RF Mount already installed.

USA

Visit Duclos Lenses

EUROPE

Visit your local MK dealer and ask them.

OTHER COUNTRY

Contact us

  • Converting an MK lens to RF is a one-way process only, unlike previous Micro 4/3, FZ or L Mount conversions that could be reverted back to E mount. It will also need to be done at an authorised service centre.

Image coverage

The MK lenses both have a minimum image circle of 28.5mm, and a minimum illumination circle of 29.6mm. When we say minimum, this is usually when stopped down to T22, on the widest focal length, and focussing on infinity. However, in order for us to comfortably say it covers a sensor, the sensor should be smaller than 29.6mm diagonally.

Fujinon MK RED Komodo Image Circle

On the image above, you can see that 6K Open Gate mode on the RED Komodo has a diameter of 30.56mm. This means that in some combinations of focal length, focus position and T-stop, there may vignetting appearing in the corners. However, the MK illumination circle will cover all other modes including 6K 16:9 and 6K WS 2.4:1 in all combinations of lens settings.

5K 16:9 and 4K 16:9 UHD modes are both easily within the Image Circle and Illumination Circles of the MK lenses

Learn more

Click here to learn more about the MK lenses

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Balazs Bolygo HSC BSC – Cursed 

/ Marc Cattrall

Netflix Original series “Cursed” recently went live on the streaming platform and Balazs Bolygo HSC BSC was the Director of Photography for the penultimate and final episodes of the season. Balazs was the first DP in the UK to use the Premista 80-250 on a shoot and we caught up with him to find out how he got on with it.

Balazs inherited the show and did episodes 9 and 10, the two final episodes in the season. They had been shooting using the Sony Venice in combination with Zeiss Supremes, Full Frame 2:1 format in 17:9 mode. 

From Frank Miller and Thomas Wheeler, Cursed is a reimagining of the Arthurian legend told from the perspective of Nimue.

Netflix
CURSED – Official Trailer

Multi-camera shooting setup

“It was a show where we sometimes had 4 cameras working and obviously trying to get 4 sets of Supremes to cover, plus multiple units, I was very keen to get a zoom working within our facet of lenses. We initially started working with a different manufacturer’s zooms but I noticed that when we put them on I felt a loss of resolution so it didn’t blend in with the rest of the primes.”

“I was interested in trying the Premista to see how it fitted in with the Supremes and I was pleasantly surprised because it bedded in really well to the extent where I ended up shooting on the long zoom for everything from 85mm upwards really.”

Premista image quality

I didn’t feel compromised by putting on the Premista zoom

Balazs Bolygo HSC BSC

“I didn’t feel compromised by putting on the Premista zoom. It held the contrast at the longer end, sometimes better than the longer Supreme, and optically it didn’t feel like you were at the long end of a zoom. It really held up to flaring – it was a pleasant flare. It bedded in with the look of the show for me.”

Size, weight and operability

“We had a frenetic battle sequence with 4 cameras. When you have a couple of hundred extras and horses running around you, you tend to run out of focal length really quickly on full frame. It was really useful having a long zoom that you can work really quickly. “

Shooting on sandy beach, a zoom lens becomes even more valuable

It’s a momentum thing and we just kept moving

Balazs Bolygo HSC BSC

“We had the Optimo Ultra which is twice the size of the Premista. Putting it on just took so much longer. The time it took to change onto the Premista from a Prime was the same time as just changing over two Primes so I didn’t feel “I’m going to lose that camera for 5 minutes while they put the new bars on, put a bigger matte box etc”. It’s a momentum thing and we just kept moving so it was really important and useful.”

Matching Premista with the Zeiss Supremes

The Premista worked because it held the contrast and that level of sharpness of the Supremes

Balazs Bolygo HSC BSC

“For me, the Supremes have a nice personality and are relatively sharp lenses. I didn’t want to give up on that level of sharpness when I put a zoom on. The Premista worked because it held the contrast and that level of sharpness of the Supremes. “

“If I was using older lenses like Cooke S2s it wouldn’t match so well. For a modern sensor high resolution such as the Venice, you sometimes want to deliver the clarity the camera can offer and the Premista lenses do that. Other projects you might want to go the other way and the Premista lenses might be less of a match but you could look at detuning the lens.”

Final question – would you shoot a full production on Premista?

“Yes certainly. I’ve shot large chunks of productions on zooms. Working with zooms is not alien to me. Forcing yourself to have a bit more flexibility and malleability in terms of the way you choose frame sizes could, stylistically, give the audience something to realise and react to. If I was looking for that sort of approach to a project I would certainly use them.”

Balazs Bolygo HSC BSC was talking to Marc Cattrall from Fujinon during a seminar session at Camerimage 2019

Is the Cabrio XK 20-120 lens compatible with the Blackmagic URSA Mini Pro 12K?

/ Marc Cattrall

The three factors to consider when checking if a lens is compatible with a camera are:

  • Mount. The XK 20-120 lens and URSA Mini Pro 12K camera both have PL mounts as standard
  • Resolving power
  • Image circle coverage

We’ve conducted tests on the resolution and image circle of the lens and the results show that it will work perfectly on the URSA Mini Pro 12K, with some small caveats to the image circle.

12K Resolution test

In order to test the resolving power of the lens, we placed it on our lens projector that can show up to 400 line pairs per mm

  • XK20-120 Projection Room
    XK20-120 Projection Room
  • Centre
  • Centre zoomed in to show line pairs

As you can see in the large image (click it to view larger), the lens is able to resolve 400 line pairs per millimetre. This equates to a resolution of 22K. Therefore we conclude that the XK 20-120 provides enough resolution for the Blackmagic URSA Mini Pro 12K.

Image Circle Coverage

The Cabrio XK 20-120 has a minimum image circle of 28.5mm, and a minimum illumination circle of 29.1mm. When we say minimum, this is usually when stopped down to T22, on the widest focal length, and focussing on infinity. However, in order for us to comfortably say it covers a sensor, the sensor should be smaller than 29.1mm diagonally.

FULLY COMPATIBLE MODES: As you can see, the 12K 16:9 and 8K UHD 16:9 modes both require an image circle smaller than the illumination circle of the XK 20-120 so you should be able to use these modes with any combination of focal length, T-stop and focus position.

MOSTLY COMPATIBLE MODES: For the remaining modes, due to the varying size of the image and illumination circles (remember, our specifications are the worst case scenario), there will be some combinations of focal length, T-stop and focus position that may result in slight corner shading. As a general rule, this tends to occur when shooting at the wide end (less that 35mm) at T-stops smaller than T11 and when focus is near to, or at infinity.

In any mode, as the sensor size is greater than our published 28.5mm specification, Fujifilm cannot fully guarantee that the image circle will cover and meet the factory-specified quality tolerances in the far corners of the image.

Real World Test

Bill Bennett ASC conducted a thorough test of the XK 20-120 on the BMD URSA Mini Pro 12K that you can watch below. Heres the summary of his findings

In my opinion, the Fujinon XK 20-120 is totally useable in the 16:9 mode in the BMD 12K camera.  As you will see in the test footage below, shooting up toward the open sky, if the lens is wide open at T3.5 or even stopped down to a T8.0, there is no vignetting to be seen and the lens is zoomed through the entire focal length range, both focused at minimum focus and at infinity focus.  When the lens is stopped down to T22, there is a tiny amount of vignetting visible on the upper and lower right side of the frame, in the range of 40mm to 55mm focal length.  I don’t think it’s a problem, as people shooting with the lens will rarely stop down to T22, especially since this camera has built-in behind the lens Neutral Density filters. 

Bill Bennett ASC

If in doubt, test!

Fujinon Cabrio XK 20-120 at a glance

  • Cost effective “all-in-one” versatile PL Mount lens
  • Cinematic “Look” and matched CCI  |  Parfocal  |  No breathing  |  Optimized for HDR
  • Available with or without dedicated drive unit

Visit the Cabrio range page

Mark Sharman : Wildlife Filming Challenges and Solutions

/ Marc Cattrall

Cameraman Mark Sharman talks about the joys and complexities of filming a wide array of wildlife, from the biggest mammals underwater to the smallest insects in macro.

In the video below, he shares anecdotes of filming in diverse and challenging locations, from the Arctic to desert, jungle and open ocean, and the privilege of working alongside scientific contributors from around the world who fly the flag for global conservation.

Mark provides insights into his preferred lighting and camera setups including the Gates Pro Explore housing for underwater and Fujinon MK cine zoom lenses for a lightweight cinematic glass option topside.

Tobias Schliessler ASC : “Rhinestone Blue”

/ Marc Cattrall

“Rhinestone Blue” was written and directed by Aisha Schliessler and shot by Tobias Schliessler ASC. Watch the short video below to see what Aisha and Tobias and other crew members thought about the Premists 28-100 and Sony Venice to capture this short film.

Watch “Rhinestone Blue”

Watch the full film here and see for yourself what the Premista lens is capable of